9/23/2016

PPAC's "Wicked": Green with Envy

Jessica Vosk in "Wicked"(photo: Joan Marcus)

There
is much that is green about Wicked,
the
musical: one witch, a lot of peer jealousy, and a whole lot of money.
Billed as “the untold story of the Witches of Oz”, the
musicalization of the popular novel by local author Gregory Maguire
has grossed, since its Broadway opening thirteen years ago (on
10/30/03), $1,044,603,475 (yes, that's over one
billion). Thus
aplot
synopsis would hardly seem necessary. Everyone is familiar with the
original film The
Wizard of Oz, and
the books by L. Frank Baum, and most theatergoers have presumably
already seen this story of brains, heart and courage and are eagerly
looking forward to a revisit to the Kingdom. They won't be
disappointed.

Just as a brief refresher, the show is really the back
story of Elphaba (Jessica Vosk), alias (in Baum's original books) the
Wicked Witch of the West. Maguire in his breakthrough novel took the
Dorothy story and pretty much upended our expectations. The Book by
Winnie Holzman takes the plot-heavy musical in even more foreign
territory, wherein Glinda (Amanda Jane Cooper), “the good witch”,
is the flawed narcissist (with the delightful song “Popular”)
whose status increases as that of Elphaba declines at Shiz School,
which culminates in the showstopping climax to Act I, the
chill-inducing “Defying Gravity”). Characters who are not found
in the original The Wizard of Oz novel (but some of whom are
in Baum's dozens of sequels) are Headmistress Madame Morrible (Wendy
Worthington), the sole remaining Animal on the faculty, Dr. Dillamond
(Chad Jennings), Elphaba's younger sister Nessarose (Kristen Martin),
the prince Fiyero who becomes the Scarecrow (Anthony Festa), and Boq
who becomes the Tin Man (Sam Seferian). And of course there's The
Wizard himself (Stuart Zagnit) who confesses he's not all powerful
after all. How all this, and more, transpires requires that attention
be paid, for all's well that ends well. Except for that unfortunate
landing of a house on top of Nessarose brought on by this girl named
Dorothy....

The Book, its weakest element by far, is lacking in
subtlety, and the jokes are labored and unfunny (“the artichoke is
steamed”, “so happy I could melt”, “innuendo, outuendo”,
“the goat is on the lam”, “twister of fate”, and the visual
of Galinda's Evita-like hand posture at the beginning of Act II). At
the same time, there are some wise subtexts, such as finding a common
enemy in order to control the people (sound familiar?) and telling
“lies they wanted to hear”, that have resonance today. Schwartz'
lyrics, however, save the day (such as a reference to Elphaba's
“verdegris”) and his score is often glorious. Standouts include
such memorable songs as “Dancing through Life”, “Defying
Gravity” and “For Good”, perhaps the most moving and powerful
number in the show, the eleven o'clock number unforgettably sung by
Vosk and Cooper:

Who
can say if I've been changed for the better

But
because I knew you

I
have been changed for good...

So
much of me

Is
made of what I learned from you...

And
now whatever way our stories end

I
know you have rewritten mine...

Because
I knew you, because I knew you

I
have been changed

For
good

Much depends on the abilities of its cast, and most
delivered, if often too broadly, but, as the Wizard himself puts it,
“you have to give people what they want”. Vosk avoids the
burlesque style and creates the sole nuanced role on the stage. The
original Direction was by Joe Montello, with Musical Staging by Wayne
Cilento (fondly remembered from the original cast of Chorus Line)
; with Scenic Design by Eugene Lee, Costume Design by Susan
Hilferty, Lighting Design by Kenneth Posner, Sound Design by Tony
Meola and Projection Design by Elaine J. McCarthy, this version is in
fine technical shape.

The musical's popularity, due in large part to its
message of empowerment for young women and girls, is undeniable.
With a solid score and despite its sometimes incomprehensible
plot(s), it's no wonder that it's been such a hit. In the midst of
our current electoral blues (and reds), perhaps it's time again to
embrace the green in all of us and follow that yellow brick road.